Dieser Bericht beschreibt den Weg des Denkens von Friedrich Nietzsche in die argentinische Kultur und in die universitären Kreise . In einer ersten Phase wird Nietzsche vor allem in Kultur- und Literaturzeitschriften rezipiert und erscheint durch Zitate und Paraphrasen sogar in Werbungen. Mit der Publikation einer ihm gewidmeten Nummer der philosophischen Zeitschrift Minerva und des buches Nietzsche profeta de una edad trágica von Carlos Astrada wird das Oeuvre Nietzsches als philosophisches Werk wahrgenommen und diskutiert. Die Auslegungen gehen von einer anfänglichen (...) Platzierung seines Denkens in der Nähe des Faschismus über die sozialen, religiösen und existenziellen Aspekte seiner Philosophie bis hin zu einem vermeintlichen Aristkratismus. Damit wird in der argentinischen Rezeption jener Wunsch Nietzsches realisiert, stets auf vielfältige Weisen interpetiert zu werden, um jegllichem Dogmatismus zu entkommen.This Report describes the way of Nietzsche's thought in argentine culture and university circles . In a first period Nietzsche appears mainly in culture and literature magazines and is quoted and paraphrased even for advertising means. Through the publication of an edition of the philosophical magazine Minerva dedicated to him and the book Nietzsche profeta de una edad tragica by Carlso Astrada Nietzsche's Oeuvre begins to be accepted and discussed as a philosophical work. This involvement with his thought raised a wide range of interpretations starting with an identification with fascism, then concerning the social. (shrink)

The Argonauts combines high theory and the everyday. It does this by combining lofty thought, the quotidian, close attention to words and ideas and stray thoughts, and desire. It does this through form, the way it blends and refuses genre, the way it skips from one thought or story to another, and making them connect by virtue of contiguity. The Argonauts refuses form in a way that parallels how Maggie's and Harry's bodies and identities refuse gender taxonomy. It also refuses (...) genre, referred to variously as theory, memoir, and autotheory. While it queers form and family, it also queers feelings. (shrink)

The progression of research and scholarly inquiry does not occur in isolation and is wholly dependent on accurate reporting of methods and results, and successful replication of prior work. Without mechanisms to correct the literature, much time and money is wasted on research based on a crumbling foundation. These guidelines serve to outline the respective responsibilities of researchers, institutions, agencies, and publishers or editors in maintaining the integrity of the research record. Delineating these complementary roles and proposing solutions for common (...) barriers provide a foundation for best practices. (shrink)

Bioethics coverage of the recent Ebola outbreak neglected the ethical issues associated with aspects of the outbreak having environmental significance. The neglect of environmental dimensions is symptomatic of the way that the current institutionalization of bioethics as a field of inquiry separates medical and environmental expertise. As visionaries who are recognizing the need for better integration of human and veterinary medicine with environmental health are starting to call for “One Health”, it is now time to recognize the need for “One (...) Bioethics.”. (shrink)

This is an essay based on a story with observations, about present and sparkling moments from everyday life coexisting with a mother living with dementia. The story is used to begin philosophical underpinnings reflecting on ‘how it could be otherwise’. Dementia deploys brutal existential experiences such as cognitive deterioration, decline in mental functioning and often hurtful social judgements. The person living with dementia goes through transformation and changes of self. Cognitive decline progressively disrupts the foundations upon which social connectedness is (...) built, often creating a profound sense of insecurity. The challenge for carers and healthcare professionals is therefore to find ways of clarifying a concept of agency. It will be worthwhile developing the ability of attuning into ‘what is there’ arising from every corner of the care situation. Understanding and practicing this can strengthen existence and the experience of connectedness and meaning, empowering the person with dementia. It is important to find ways, relational moves, in which carers and healthcare professionals can embed the creativity appearing in mundane everyday situations filled with surplus of meaning, sharing mental landscapes (and embodied relational understanding) with the person living with dementia – seizing and sharing aesthetic moments (verbal and nonverbal) being present together. We argue that carers and healthcare professionals may find this understanding of care useful. This implies looking into a phenomenological‐hermeneutic perspective developing competences as well as practical wisdom understanding and being aware of the creative and innovative possibilities (often preverbal and unnoticed small things) in everyday life of what we, inspired by psychoanalyst Daniel Stern, call sparkling moments of meeting, creating experience with the other that is personally undergone and lived through in the present. (shrink)

California has focused on health equity in the state’s COVID-19 reopening plan. The Blueprint for a Safer Economy assigns each of California’s 58 counties into 1 of 4 tiers based on 2 metrics: test positivity rate and adjusted case rate. To advance to the next less-restrictive tier, counties must meet that tier’s test positivity and adjusted case rate thresholds. In addition, counties must have a plan for targeted investments within disadvantaged communities, and counties with more than 106 000 residents must (...) meet an equity metric. California's explicit incorporation of health equity into its reopening plan underscores the interrelated fate of its residents during the COVID-19 pandemic and creates incentives for action. This article evaluates the benefits and challenges of this novel health equity focus, and outlines recommendations for other US states to address disparities in their reopening plans. (shrink)

This study explored perceived benefits and risks of participation in HIV research among 33 female sex workers in Tecún Umán, Guatemala. Stigma associated with sex work and HIV was a critical barrier to research participation. Key benefits of participation included access to HIV/sti prevention and testing, as well as positive and trusting relationships between sex workers and research teams. Control exerted by managers had mixed influences on perceived research risks and benefits. Results underscore the critical need for HIV investigators to (...) develop population-tailored procedures to reduce stigma; engage managers; and reinforce trusting, reciprocal relationships between sex work communities and researchers. (shrink)

En este artículo se lleva a cabo una descripción detallada del ms. 80 de la Zāwiya Ḥamzawīya. Es un maŷmū‛ recopilado, en su mayor parte, por un mismo copista del que desconocemos su nombre completo, aunque no el de su padre: ‛Umar b. Aḥmad b. Abī-l-Qāsim al-Šarīf. El maŷmu‛ contiene 427 folios con textos de variado contenido, predominando los de carácter astronómico. Entre otras obras, incluye una copia del Kitāb fī-l-‛amal bi-l-asturlāb de Abū-l-Ṣalt de Denia; el Kitāb min ‛ilm al-awqāt (...) bi-l-ḥisāb de Ibn al-Bannā de Marrākuš; el Tanbīh al-anām ‛alà mā yaḥduṯu fī ayyām al-‛ām de al-Ŷādīrī, así como su Urŷuza Rawḍat al-Azhār; y la única copia del Kitāb al-nuŷūm de ‛Abd. al-Mālik b. Ḥabīb. (shrink)

Chromosome segregation requires the ordered separation of the newly replicated chromosomes between the two daughter cells. In most cells, this requires nuclear envelope (NE) disassembly during mitotic entry and its reformation at mitotic exit. Nuclear envelope breakdown (NEB) results in the mixture of two cellular compartments. This process is controlled through phosphorylation of multiple targets by cyclin‐dependent kinase 1 (Cdk1)‐cyclin B complexes as well as other mitotic enzymes. Experimental evidence also suggests that nucleo‐cytoplasmic transport of critical cell cycle regulators such (...) as Cdk1‐cyclin B complexes or Greatwall, a kinase responsible for the inactivation of PP2A phosphatases, plays a major role in maintaining the boost of mitotic phosphorylation thus preventing the potential mitotic collapse derived from NEB. These data suggest the relevance of nucleo‐cytoplasmic transport not only to communicate cytoplasmic and nuclear compartments during interphase, but also to prepare cells for the mixture of these two compartments during mitosis. (shrink)

An embodied movement-planning field cannot account for behavior and cognition more abstract than that of reaching. Instead, we propose an affordance field, and we sketch how it could enhance the analysis of the A-not-B error, underlie cognition, and serve as a base for language. Admittedly, a dynamic systems account of an affordance field awaits significant further development.

Itsaso Colás Blanco, Mónica Triviño Mosquera y Ana B. Chica Martínez Dept. de Psicología Experimental y … Read More →.

This article reconstructs the reception of Fichte’s philosophy in the works of the physician and philosopher A.K.A. Eschenmayer between 1796 and 1801. In 1796/97, Eschenmayer was working on his project of a metaphysics of nature which would be capable of constituting a middle term between the empirical sciences and the transcendental philosophy. In doing so, he explicitly engaged with Kant, on the one hand, and with scientists of the time, on the other hand, while the influence of Fichte is comparatively (...) slight and less easily discerned. In 1798, however, he introduced into his studies of magnetism an explicit recognition of Fichte and a reference to the third principle of the Wissenschaftslehre. In 1799, Eschenmayer adopted a higher standpoint from which it was possible to conceive the genesis of the concepts which up to that point had been merely analysed. This change of viewpoint coincided with a deeper engagement with the works of Fichte. The analysis of the Dedukzion and of Eschenmayer’s explicit references to Fichte that is attempted in the present study leads to the conclusion that Eschenmayer not only adopted some terminology typical of Fichtean philosophy but also integrated into his deduction several theoretical elements developed by Fichte. The reconstruction of the influences that Fichte exercised on Eschenmayer’s thought is fundamental to an understanding of the theoretical position of Eschenmayer and the point of view from which in 1801 he formulated his criticism of Schelling’s idea of nature as autarchic and as its own legislator.Der Beitrag rekonstruiert die Rezeption der Philosophie Fichtes in den Werken des Arztes und Philosophen A.K.A Eschenmayer aus den Jahren 1796 bis 1801. 1796/97 verfolgt Eschenmayer das Ziel, eine Naturmetaphysik zu entwickeln, die als Mittelglied zwischen den empirischen Wissenschaften und der Transzendentalphilosophie fungieren soll. Dabei setzt er sich einerseits mit Kant und andererseits mit den Wissenschaftlern seiner Zeit auseinander. Der Einfluss von Fichte auf Eschenmayer ist hingegen vergleichsweise gering und nicht leicht festzustellen. Dennoch erkennt Eschenmayer bereits in seiner Studie zum Magnetismus aus dem Jahr 1798 das Verdienst Fichtes an und verweist auf den dritten Grundsatz der Wissenschaftslehre. Im Jahr 1799 erhebt sich Eschenmayer insofern zu einem höheren Standpunkt, als er nun die Genese der Begriffe entfaltet, die er vorher bloß analysiert hatte. Diese Änderung des Standpunktes führt Eschenmayer zu einer tieferen Auseinandersetzung mit den Werken Fichtes. Die in diesem Beitrag durchgeführte Untersuchung der Passagen aus Eschenmayers Dedukzion, in denen sich explizite Verweise auf Fichte finden, hat zu dem Schluss geführt, dass Eschenmayer sich nicht nur Fichtes Terminologie zu eigen macht, sondern auch mehrere von Fichte aufgestellte Theorien in seine eigene Deduktion integriert. Die Rekonstruktion der Einflüsse Fichtes auf Eschenmayer ist nicht nur für ein besseres Verständnis der Philosophie Eschenmayers unentbehrlich, sondern trägt auch zum Verständnis des Standpunktes bei, von dem aus Eschenmayer im Jahre 1801 Kritik an Schellings Idee der Natur als ihrer eigenen Gesetzgeberin übt. (shrink)

Hegel broke open the deadliest assumptions of Western thought by conceiving being as becoming and consciousness as the social-subjective relation of spirit to itself, yet his white Eurocentric conceits were grotesquely inflated even by the standards of his time. With In a Post-Hegelian Spirit, Gary Dorrien emphasizes both sides of this Hegelian legacy, contending that it takes a great deal of digging and refuting to recover the parts of Hegel that still matter for religious thought. By distilling his signature argument (...) about the role of post-Kantian idealism in modern Christian thought, Dorrien fashions a liberationist form of religious idealism: a post-Hegelian religious philosophy that is simultaneously both Hegelian as it expounds a fluid, holistic, open, intersubjective, ambiguous, tragic, and reconciliatory idea of revelation and post-Hegelian, as it rejects the deep-seated flaws in Hegel's thought. Dorrien mines Kant, Schleiermacher, and Hegel as the foundation of his argument about intellectual intuition and the creative power of subjectivity. After analyzing critiques of Hegel by SA, ren Kierkegaard, Karl Marx, Karl Barth, and Emmanuel Levinas, Dorrien contends that though these monumental figures were penetrating in their assessments, they appear one-sided compared to Hegel. In a Post-Hegelian Spirit further engages with the personal idealist tradition founded by Borden Parker Bowne, the process tradition founded by Alfred North Whitehead, and the daring cultural contributions of Paul Tillich, W.E.B. Du Bois, Martin Luther King, Jr., Rosemary Radford Ruether, David Tracy, Peter Hodgson, Edward Farley, Catherine Keller, and Monica Coleman. (shrink)

Recent history makes clear that the quantum leaps being made in technology are the leading edge of a groundswell of paradigm shifts taking place in science, politics, economics, social institutions, and the expression of cultural values. Indeed it is the simultaneity and interdependence of these changes occurring in every dimension of human experience and endeavor that makes the present so historically distinctive. The essays gathered here give voice to perspectives on the always improvised relationship between technology and cultural values from (...) Africa, the Americas, Asia, Australia, Europe, and the Pacific. Contributors: Syed Muhammad Naquib Al-Attas, Roger T. Ames,Yoko Arisaka, Carl Becker, Francesca Bray, James Buchanan, Arindam Chakrabarti, Frank W. Derringh, Rolf Elberfeld, Charles Ess, Andrew Feenberg, Susantha Goonatilake, H. Jiuan Heng, Peter Hershock, Thomas P. Kasulis, George Khushf, David Farrell Krell, Joel J. Kupperman, William R. LaFleur, Lois Ann Lorentzen, David Loy, Joseph Margolis, Hans-Georg Möller, Robert Cummings Neville, Peimin Ni, Monica Atieno Opole, Kuruvilla Pandikattu SJ, Helen Petrovsky, Ramon Sentmartí, Kristin Shrader-Frechette, Vasanthi Srinivasan, Marietta Stepaniants, Vyacheslav S. Stiopin, Henk ten Have, Paul B.Thompson, Mary Tiles, David B.Wong. (shrink)

Dialogues generated over a year of weekly meetings with 8 children at a school in Edinburgh. The author and the children attempted to craft stories reflecting philosophical problems.

Initial vaccine allocations for the coronavirus disease 2019 (COVID-19) will be limited. It is crucial to assess the ethical values associated with different methods of allocation, as well as important scientific and practical questions. This Viewpoint identifies three ethical values, benefiting people and limiting harm; prioritizing disadvantaged populations; and equal concern for all. It then explains why these values support prioritizing three groups: health care workers; other essential workers and people in high-transmission settings; and people with medical vulnerabilities associated with (...) poorer COVID-19 outcomes. In contrast, two other groups, people over 65 without medical vulnerabilities and participants in clinical research, present more complex ethical questions. This prioritization also encompasses valuing direct benefits to vaccinated individuals, indirect benefits to individuals protected from spread of infection, and indirect health and socioeconomic benefits to those protected from harm as health system and societal functioning improve. Vaccine allocation that recognizes important ethical values and avoids arbitrariness, waste, and corruption can ensure that the distribution of a COVID-19 vaccine is both fair and perceived as fair. (shrink)

We prove the following main theorem: Let be an abstract elementary class satisfying the joint embedding and the amalgamation properties with no maximal models of cardinality μ. Let μ be a cardinal above the the Löwenheim‐Skolem number of the class. If is μ‐Galois‐stable, has no μ‐Vaughtian Pairs, does not have long splitting chains, and satisfies locality of splitting, then any two ‐limits over M, for, are isomorphic over M.

CUPRINS CONTUR Re-Introducere, sau: Dincolo de „teoria şi practica” informării şi documentării – Spre o hermeneutică necesară Viorica Sâncrăian Atelier Philobiblon FOCUS Gheroghe Vais Biblioteca Universităţii din Cluj, 1906-1909 Dénes Győrfi Gyalui Farkas – fost director adjunct al bibliotecii universităţii din Cluj Vladimir F. Wertsman Seria filatelică multiculturală Librariana Meda-Diana Hotea „O scriere chineză în cifre arabe” Carmen Crişan Utilizarea bazelor de date ştiinţifice abonate de Biblioteca Centrala Universitara Lucian Blaga în anul 2005 Gabriela Morărescu Anul 2005 – o nouă (...) abordare a bibliotecilor filiale Mariana Falup Realizări şi perspective în automatizare şi modernizare Maria Petrescu Digitizarea documentelor culturale Alina Ioana Şuta De la schimbul internaţional de publicaţii la schimbul experienţei – un contact polonez Marcela-Georgeta Groza Biblioteca de Matematică şi Informatică între ieri şi mâine Luminiţa Tomuţa Remodelarea unei biblioteci – Remodelarea mentalităţilor Emilia-Maria Soporan O prietenie activă pe tărâmul multiculturalităţii: Andrei Pippidi - Adrian Marino Costel Dumitraşcu Informaţiile bibliografice sau: Pe urmele cărţii în bibliotecă ORIZONTURI Pavel Puşcaş Astrolabium Ioan Mihai Cochinescu Alchimia şi muzica Alin Mihai Gherman Muzică şi literatură – Aproximaţii şi însemnări ale unui meloman înrăit Monica Gheţ Muzica împotriva ciumei Florina Iliş Adrian Marino şi ideea de literatură din perspectivă hermeneutică Rodica Frenţiu Tatakau Hikaku Bungaku – Adrian Marino şi comparatismul militant în Japonia Mariana Soporan Fondul arhivistic Adrian Marino din Biblioteca Centrală Universitară „Lucian Blaga” Gábor Győrffy Adrian Marino: alternativa autohtonă a culturii libere Sidonia Grama Între spaţii ale amintirii şi locuri ale memoriei – Comemorarea a 15 ani de la revoluţie în Timişoara REFLEXII Ioana Robu- Sally Wood-Lamont Cea de-a 10-a Conferinţă a Asociaţiei Europene pentru Informare şi Biblioteci Medicale (EAHIL) Felix Ostrovschi Un alt fel de discurs – Adrian Marino Liana Iancu Radio, presă, carte – Iancu Tiberiu – şi după Kinga Tamás Váczy Leona (1913-1995) Biblioteca, spaţiu intelectual al omului sau: Trecut pentru viitor Adrian Grănescu Emil Pintea (16 decembrie 1944 - 6 ianuarie 2004) – polivalenţa unui destin Melinda Éva Szász Pasiune pentru carte şi artă – Dénes Gábor Meda-Diana Hotea „Lumină din lumină”: primăvară pascală – Expoziţie (07 aprilie - 03 mai 2005) Kolumbán Judit Expoziţia de manuscrise de sec. XVI-XVIII în Biblioteca Centrală Universitară „Lucian Blaga” – Homo scribens: genurile memoriei si tipologia scrierii în secolele XVI-XVIII-lea (Homo scribens: emlékezéskultúra és íráshasználati-szokások a XVI-XVIII században) Meda-Diana Hotea „Cartea cărţilor” – Memoria credinţei – Expoziţie (10.02 - 25.02.2005) Raluca Soare Clădirile clujene sau martorii tăcuţi Adrian Grănescu (Despre) Managementul construcţiilor de biblioteci – recenzie şi marginalii Maria-Stela Constantinescu-Matiţa Mircea Popa: Andrei VERESS – un bibliograf maghiar, prieten al românilor (Recenzie) István Király V. Activitatea Ştiinţifică a Universităţii „Babeş-Bolyai” – 2005, sau de la povara... la demnitatea istoriei Bodnár Róbert Pe urmele unei biblioteci pierdute Raluca Soare Un om, o carte, o bibliotecă – Traian Brad, un slujitor al cărţii Ildikó Bán Lidia Kulikovski: Accesul persoanelor dezavantajate la potenţialul bibliotecilor (Manual pentru bibliotecari) Chişinău, Editura Epigraf, 2006 (Recenzie) Iacob Mârza Meda-Diana Hotea: Catalogul cărţii rare din colecţiile B. C. U. „Lucian Blaga”– Donaţia Gh. Sion Vol. I (sec. XVI-XVIII) (Recenzie) Ruxandra Cesereanu Adrian Marino între unit-ideas şi Zeitgeist Iulia Grad Filozofia evreiască: între Ierusalim şi Atena Raluca Soare De-o parte şi de alta a cărţilor Adrian Grănescu (Recenzie) Boglárka Daróczi Literatura germană pentru copii apărută în România între 1944-1989 – O bibliografie. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Cuprins CONTUR Re-Introducere sau: Dincolo de „teoria şi practica” informării şi documentării – Spre o hermeneutică posibilă şi necesară Proiectul şi Programul PHILOBIBLON( în noua formulare) FOCUS Dana Stana, Omonimia şi paronimia în bibliologie Victoria Frâncu, Profesia de bibliotecar la graniţa dintre spaţiul bibliotecii şi ciberspaţiu Olimpia Curta, Laboratorul de informatică şi profesioniştii săi Ionel Enache, Fundamentele teoretice ale marketingului de bibliotecă Maria Petrescu, Bibliotecile digitale şi impactul lor asupra tinerilor Adriana Szekely, Liana Grigore, Bibliorev – în continuă schimbare István (...) Király V., Proiect în vederea Acreditării ISI al revistei PHILOBIBLON Valeria Salánki, Cultura organizaţională. Propunere de studiu asupra culturii organizaţionale – octombrie 2008 Marian Petcu, Originile faptului divers în presa română Tudor-George Pereverza Expresia bibliografică a Iconografiei eminesciene (Fotografie şi artă plastică, 1939-1989) Vlad A. Codrea, Gabriela-Rodica Morărescu, Forray Erzsébet, Catalogus Raritatum et Benefactorum, un manuscris reprezentativ din perioada de început a Muzeului de Ştiinţele Naturii din Aiud 4 Alin Mihai Gherman, Pornind de la o Bucoavnă necunoscută Roxana Bălăucă, Tipărituri franceze în colecţiile BCU „Lucian Blaga”: secolul al XVIII-lea Maria-Stela Constantinescu-Matiţa, Szabó Károly – bibliotecar, bibliograf şi istoric Roxana Bălăucă, Theodor Aman în Donaţia Sion Margareta Berchez, Îmbogăţirea colecţiilor Bibliotecii Universităţii de Ştiinţe Agricole şi Medicină Veterinară Cluj-Napoca prin schimbul de publicaţii de-a lungul timpului Ioana Rotund, O oază francofonă la Cluj Ilona Okos-Rigó, Biblioteca şi Grădina Botanică Clujeană Gabriela Pop, Institutul de Iudaistică şi Istorie Evreiască „Dr. Moshe Carmilly” şi Biblioteca de Studii Iudaice Mariana Falup, Împrumutul interbibliotecar intern şi internaţional şi livrarea de documente la B.C.U. Cluj-Napoca ORIZONTURI Doru Radosav, Viaţa ca alterego. Petrea Icoanei: travesti şi clandestinitate în mişcarea de rezistenţă anticomunistă Ionuţ Costea, Mitbiografia între propagandă şi memorie Gabriela Morărescu ;Vlad Codrea, Preocupări pentru cunoaşterea şi protecţia naturii în scrierile unui entuziast naturalist al secolului XIX: Basiliu Basiota Alin Mihai Gherman, Vechi lexic bibliotecăresc Raluca Betea, Influenţa artei Renaşterii asupra decoraţiei icoanelor din secolele XVI-XVIII din Transilvania şi Maramureş 5 Monica Mureşan, Căsătoria civilă ca aspect al modernizării societăţii transilvănene la sfârşitul secolului al XIX –lea. – Discurs oficial şi receptare socială reflectate în presa vremii Ancuţa-Lăcrimioara Chiş, Diferenţa şi discriminarea socio-politică a femeii Irina Petraş, Casa, locul vieţii (fragmente) Monica Mureşan Pentru o istorie a morţii în peisajul istoriografic românesc - prezentarea unor contribuţii colective recente: Religiozitate şi atitudini în faţa morţii în spaţiul transilvan din premodernitate până în secolul XX, coord. Mihaela Grancea, 2005 şi Discursuri despre moarte în Transilvania secolelor XVI-XX, coord Mihaela Grancea şi Ana Dumitran, 2006. REFLEXII Olimpia Curta, Reviste electronice. Baze şi perspective de Alice Keller – Recenzie Adrian Grănescu, Arhitectura Clinicilor Universitare din Cluj 1886-1903 Dorina Buia, Itinerar de suflet la Tăul Muced Raluca Soare, De la teoriile ataşamentului la tehnicile de intervenţie în psihoterapie. (Školka Enikő – Teorii explicative, Modele şi Tehnici de intervenţie în psihologie clinică şi psihoterapie) Sidonia Nedeianu Grama, Mitbiografia politică în istoria orală Raluca Soare, Opera bibliothecariorum 1990-2007 – Recenzie Ionuţ Costea, Kovács Mária, A kolozsvári „Lucian Blaga” Központi Egyetemi Könyvtár 19. századi magyar nyelvű kéziratainak katalógusa. Első kötet: történelmi és földrajzi kéziratok/ Catalogul manuscriselor maghiare din secolul al 19-lea din colecţiile Bibliotecii Centrale Universitare „Lucian Blaga” Volumul I: Manuscrise de istorie şi geografie, Editura Argonaut, Cluj-Napoca, 2007, 218 p. – Recenzie 6 Ana Maria Căpâlneanu, Lola Maria Petrescu – Biblioteca şi provocările secolului XXI, Cluj-Napoca: Risoprint, 2007 István Király V, Bibliografia ca instrument al clarificării de sine Kinga Tamás, Viorica Sâncrăian - un coleg şi un bibliotecar de excepţie În colecţia BIBLIOTHECA BIBLIOLOGICA au apărut Revista PHILOBIBLON – Volumele apărute. (shrink)

Recent literature have underlined the connections between children’s reading skills and capacity to create and use mental representations or mental images; furthermore data highlighted the involvement of visuospatial abilities both during math learning and during subsequent developmental phases in performing math tasks. The present research adopted a longitudinal design to assess whether the processes of mental imagery in preschoolers (ages 4–5 years) are predictive of mathematics skills, writing and reading, in the early years of primary school (ages 6–7 years). The (...) research lasted for two school years; in the first phase, the general group of participants consisted of 100 children, and although all participants agreed to be part of the research, in the second phase, there was a mortality rate of 30%. In order to measure school learning and mental imagery processes four batteries of tests were used. The mental imagery battery evaluated mental generation, inspection and transformation processes. Data underlined that the different aspects in which mental imagery processes are articulated are differently implied in some skills that constitute school learning. These findings emphasise the potential usefulness of a screening for mental imagery ability for schoolchildren to adopt effective measures to increase their mental imagery abilities. (shrink)

Books Reviewed in this Article: Beyond Ideology: Religion and the Future of Western Civilization. By Ninian Smart. Pp.350, London, Collins, 1981, £9.95. Neophtonism and Indian Thought. Edited by R. Baine Harris. Pp.xiii, 353, Albany, State University of New York Press, 1982, $39.00, $12.95. Monotheism: A Philosophic Inquiry into the Foundations of Theology and Ethics. By Lenn Evan Goodman. Pp.122, Totowa, Allenheld, Osmun, 1981, $13.50. Neoplatonism and Christian Thought. Edited by Dominic J. O'Meara. Pp. xviii, 297, Albany, State University of New (...) York Press, 1981, $39.00, $12.95. The Path to Transcendence: From Philosophy to Mysticism in Saint Augustine. By Paul Henry, introduction and translation by Francis F. Burch. pp.xxix, 120, Pittsburgh, The Pickwick Press, 1981, $10.95. The Adequacy of Christian Ethics. By Brian Hebblethwaite. Pp. 144, London, Marshall, Morgan & Scott, 1981, £5.95. Ethics. By Wolfhart Pannenberg. Pp. 220, Philadelphia, The Westminster Press, 1981, $10.95. Human Nature, Election, and History. By Wolfhart Pannenberg. Pp. 116, Philadelphia, The Westminster Press, 1982, £2.95. Ethics, Religion and Politics. By G.E.M. Anscombe. Pp.ix, 161, Oxford, Basil Blackwell, 1981, £12.00. Moral Thinking: its Levels, Method and Point. By R.M. Hare. Pp.viii, 242, Oxford University Press, 1982, £11.00, £3.95. Utilitarianism and Beyond. Edited by Amartya Sen and Bernard Williams. Pp.vii, 290. £7.50. Cambridge University Press, 1982, £20.00. Language and Political Understanding. By Michael J. Shapiro. Pp.253, New Haven, Yale University Press, 1981, £18.20. Marx's Politics. By Allan Gilbert. Pp.xv, 326, Oxford, Martin Robertson, 1981, £16.50. Feuerbach. By Marx W. Wartofsky. Pp.xx, 460, Cambridge University Press, 1977, £30.00, £9.95. Nietzsche, Vol. 1: The Will to Power as Art. By Martin Heidegger, translated with notes and an analysis by D.F. Krell. Pp.xvi, 263, London, Routledge and Kegan Paul, 1981, £11.50. Freedom and Karl Jaspers's Philosophy. By Elizabeth Young‐Bruehl. Pp.xiv, 233, New Haven & London, Yale University Press, 1981, £14.00. ‘Being and Meaning’: Paul Tillich's Theory of Meaning, Truth and Logic. By I.E. Thompson. Pp.x, 244, Edinburgh University Press, 1981, £15.00. The Rationality of Science. By W.H. Newton‐Smith. Pp.xii, 294, London, Routledge and Kegan Paul, 1981, £9.95, £5.95. Realism and the Progress of Science. By Peter Smith. Pp.viii, 135, Cambridge University Press, 1981, £12.50. Angels and principalities. By Wesley Carr. Pp.xii, 242, Cambridge University Press, 1981, £13.50. Rconciliation: A Study of Paul's Theology. By Ralph P. Martin. Pp.233, London, Marshall, Morgan and Scott, 1981, £8.95. Suffering and Martyrdom in the New Testament. Edited by William Horbury and Brian McNeil. Pp.xxi, 217, Cambridge University Press, 1981, £17.50. Constantine and Eusebius. By Timothy D. Barnes. Pp.viii, 458, Cambridge, Harvard University Press, 1981, £24.50. Songs of Glory: the Romanesque Façades of Aquitaine. By Linda Seidel. Pp.x, 220, figs.63, Chicago and London, University of Chicago Press. 1981, £17.50. Marsilio Ficino and the Phaedran Charioteer. Translated and edited by Michael J.B. Allen. Pp.x, 274, Berkeley‐Los Angeles, University of California Press, 1981, £18.50. The Letters of Marsilio Ficino, Volume 3. Pp.xiv, 162, London, Shepheard‐Walwyn, 1981, £8.00. The World of the Renaissance Jew: The Life and Thought of Abraham ben Mordecai Farissol. By David B. Ruderman. Pp.xvii, 265, Cincinatti, Hebrew Union College Press, 1981, $20.00. A Dialogue Concerning Heresies. Edited by T.M.C. Lawier, G. Marc'hadour and R.C. Marius. Pp.xiv, 888, New Haven, Yale University Press, 1981, £56.00. Canterbury and Rome, Sister Churches: A Roman Catholic Monk reflects upon Reunion in Diversity. By Robert Hale. Pp.xi, 188, London, Darton, Longman and Todd, 1982, £5.95. Rome and Canterbury through Four Centuries: A Study of the Relations between the Church of Rome and the Anglican Churches 1530–1981. By Bernard and Margaret Pawley. Pp.xi, 387, London and Oxford, Mowbray, 1981, £4.95. American Indians and Christian Missions. By H.W. Bowden. Pp.xix, 255, Chicago, University of Chicago Press, 1981, £10.50. Catholics in Western Democracies: A Study in Political Behaviour. By John H. Whyte. Pp.193, Dublin, Gill and Macmillan. 1981, £13.00. Päpstliche Unfehlbarkeit bei Newman und Döllinger: Ein historisch‐systema‐tischer Vergleich. By Wolfgang Klausnitzer. Pp.280, Innsbruck, Tyrolia Verlag, 1980, 54 DM. The Letters of Baron Friedrich von Hügel and Professor Norman Kemp Smith. Edited by Lawrence F. Barmann. Pp.353, New York, Fordham University Press, 1981, no price given. Merton: A Biography. By Monica Furlong. Pp.xx, 342, London, Collins, 1980, £6.95. The Autonomy of Religious Belief: A Critical Inquiry. Edited by Frederick J. Crosson. Pp.vii, 162, Notre Dame, University of Notre Dame Press, 1981, £8.95. The Theological Imagination: Constructing the Concept of God. By Gordon D. Kaufman. Pp.309. Philadelphia, The Westminster Press, 1981, $13.95. Spirits of Power: An Analysis of Shona Cosmology. By Hubert Bucher. Pp.231, Capetown, Oxford University Press, 1980, £8.75. Judaism: The Evidence of the Mishnah. By Jacob Neusner. Pp.xix, 419, Chicago, University of Chicago Press, 1981, £17.50. (shrink)

In this book, David B. Wong defends an ambitious and important new version of moral relativism. He does not espouse the type of relativism that says anything goes, but he does start with a relativist stance against alternative theories such that there need not be only one universal truth. Wong proposes that there can be a plurality of true moralities existing across different traditions and cultures, all with one core human question as to how we can all live together.